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Many people complain about corporations, but there are also those whose criticism goes further and who hold corporations morally to blame for many of the problems in Western society. Their criticism is not reserved solely for fraudulent or illegal business activities, but extends to the basic corporate practice of making decisions based on what will maximize profits without regard to whether such decisions will contribute to the public good. Others, mainly economists, have responded that this criticism is flawed because it inappropriately applies ethical principles to economic relationships.

It is only by extension that we attribute the quality of morality to corporations, for corporations are not persons. Corporate responsibility is an aggregation of the responsibilities of those persons employed by the corporation when they act in and on behalf of the corporation. Some corporations are owner operated, but in many corporations and in most larger ones there is a syndicate of owners to whom the chief executive officer, or CEO, who runs the corporation is said to have a fiduciary obligation.
The economists argue that a CEO’s sole responsibility is to the owners, whose primary interest, except in charitable institutions, is the protection of their profits. CEOs are bound, as a condition of their employment, to seek a profit for the owners. But suppose a noncharitable organization is owner operated, or, for some other reason, its CEO is not obligated to maximize profits. The economists’ view is that even if such a CEO’s purpose is to look to the public good and nothing else, the CEO should still work to maximize profits, because that will turn out best for the public anyway.

But the economists’ position does not hold up (to continue in the same condition without failing or losing effectiveness or force “you seem to be holding up under the strain”) under careful scrutiny. For one thing, although there are, no doubt, strong underlying dynamics in national and international economies that tend to make the pursuit of corporate interest contribute to the public good, there is no guarantee—either theoretically or in practice—that a given CEO will benefit the public by maximizing corporate profit. It is absurd to deny the possibility, say, of a paper mill legally maximizing its profits over a five-year period by decimating a forest for its wood or polluting a lake with its industrial waste. Furthermore, while obligations such as those of corporate CEOs to corporate owners are binding in a business or legal sense, they are not morally paramount. The CEO could make a case to the owners that certain profitable courses of action should not be taken because they are likely to detract (to diminish the importance, value, or effectiveness of something; often used with from) from the public good. The economic consequences that may befall the CEO for doing so, such as penalty or dismissal, ultimately do not excuse the individual from the responsibility for acting morally.

1) Which one of the following most accurately states the main point of the passage?
(A) Although CEOs may be legally obligated to maximize their corporations’ profits, this obligation does not free them from the moral responsibility of considering the implications of the corporations’ actions for the public good.
(B) Although morality is not easily ascribed to nonhuman entities, corporations can be said to have an obligation to act morally in the sense that they are made up of individuals who must act morally.
(C) Although economists argue that maximizing a corporation’s profits is likely to turn out best for the public, a CEO’s true obligations is still to seek a profit for the corporation’s owners.
(D) Although some people criticize corporations for making unethical decisions, economists argue that such criticisms are unfounded because ethical considerations cannot be applied to economics.
(E) Although critics of corporations argue that CEOs ought to consider the public good when making financial decisions, the results of such decisions in fact always benefit the public.

2) The discussion of the paper mill in lines 42-46 is intended primarily to
(A) offer an actual case of unethical corporate behavior
(B) refute the contention that maximization of profits necessarily benefits the public
(C) illustrate that ethical restrictions on corporations would be difficult to enforce
(D) demonstrate that corporations are responsible for many social ills
(E) deny that corporations are capable of acting morally

3) With which one of the following would the economists mentioned in the passage be most likely to agree?
(A) Even CEOs of charitable organizations are obligated to maximize profits.
(B) CEOs of owner-operated noncharitable corporations should make decisions based primarily on maximizing profits.
(C) Owner-operated noncharitable corporations are less likely to be profitable than other corporations.
(D) It is highly unlikely that the actions of any particular CEO will benefit the public.
(E) CEOs should attempt to maximize profits unless such attempts result in harm to the environment.

4) The conception of morality that underlies the author’s argument in the passage is best expressed by which one of the following principles?
(A) What makes actions morally right is their contribution to the public good.
(B) An action is morally right if it carries the risk of personal penalty.
(C) Actions are morally right if they are not fraudulent or illegal.
(D) It is morally wrong to try to maximize one’s personal benefit.
(E) Actions are not morally wrong unless they harm others.

5) The primary purpose of the passage is to
(A) illustrate a paradox
(B) argue for legal reform
(C) refute a claim
(D) explain a decision
(E) define a concept

bolt : fabric
(A) lock : key
(B) book : paper
(C) roll : film
(D) needle : thread
(E) light : lamp

GUARD : PROTECT ::
(A) Chef : Eat
(B) Pilot : Steer
(C) Subordinate : Command
(D) Attorney : Retain
(E) Major : Obey

Exquisite patterns and surface ornamentation were an integral part of the aesthetics of the late Victorian era. In America, these developments were incorporated into the themes of national expositions and artistic movements, as cottage industries grew and productivity in the decorative arts flourished. The last three decades of the 19th century saw a change in sensibility that resulted in new stylistic approaches in American decorative arts, a departure from the previous era of Rococo and Renaissance Revival excess. Shapes became more angular, smoother and less flamboyant. The popular carvings and deep modeling of earlier years disappeared as ornamentation became more linear and lighter in appearance. Decoration focused on the surface with rich and elegant patterns adorning furniture, objects of every sort, and architectural and interior decorations. This artistic reawakening was prompted by the effects of the Industrial Revolution on contemporary design.

This new attitude, with its focus on ornament and the decorative, was later referred to as the Aesthetic Movement, but it also encompassed the early Arts and Crafts Movement as well. The purpose was to bring a refined sensibility and components of “good taste” to the domestic interior. Art and good taste not only denoted good character, but also could be used to induce proper moral conduct and actions, thereby contributing to the betterment of society. This placed a heavy burden on designers/decorators as well as on women as keepers of the home. Americans drew inspiration from the writing and work of English artists. This was a period of great eclecticism. Tastes ranged from the Modern Gothic through the Persian, Greek and Islamic, to the Japanese, and with more than a nod to Mother Nature. Yet, regardless of the influence, surface pattern reigned supreme. English reformers dictated that ornament should be derived from nature, and pattern should be flat and stylized. Forms were accentuated by colored outlines, or often with touches of gold. The emphasis was on art and on development of a refined sensibility. It was all a matter of taste.

1. What is the main topic of the passage?
(a) defining the “Aesthetic Movement”
(b) decorative arts in late 19th century America
(c) English influences on American decorative arts in the late 19th century
(d) The change in tastes from “Rocco and Renaissance Revival” to the ‘Aesthetic Movement” in late 19th century America

2. The word “integral” in line 1 is closest in meaning to
(a) essential
(b) additional
(c) important
(d) beautifying

3. According to the passage, during the Aesthetic Movement popular carvings and deep modeling of earlier years
(a) were popular
(b) again became popular
(c) disappeared
(d) defined good taste

4. The word “elegant” in line 9 is closest in meaning to
(a) beautiful
(b) ornamental
(c) colorful
(d) refined

5. According to the passage, the purpose of the Aesthetic Movement was to
(a) induce proper moral conduct and actions
(b) define what was meant by good taste in the domestic interior
(c) encompass Arts and Crafts as well as ornament an decoration
(d) define good character and contribute to the betterment of society

6. The phrase “new attitude” in line 14 refers to
(a) including the early Arts and Craft Movement as well
(b) artistic reawakening
(c) the Industrial Revolution
(d) Rococo and Renaissance Revival

7. The word “denoted” in line 16 is closest in meaning to
(a) promoted
(b) facilitated
(c) developed
(d) signified

8. Where in the passage does the author mention the influence of art and good taste on morals?
(a) lines 5-9
(b) lines 10-14
(c) lines 15-20
(d) lines 20-24

9. Which of the following can be inferred from the passage?
(a) designers and decorators were mainly responsible for starting the new attitude
(b) the movement led to a higher standard of morality in late 19th century America
(c) the Americans considered the English to be the arbiters of good taste
(d) women, as keepers of the home, faced a heavy burden

10. According to the passage, which of the following remained most important, regardless of influences from other countries?
(a) surface pattern
(b) English opinions
(c) good taste
(d) Proper moral conduct and actions

11. Which of the following is NOT mentioned as a feature of the Aesthetic Movement?
(a) shapes became less flamboyant
(b) ornamentation became lighter in appearance
(c) forms were accentuated by colored lines
(d) decorations focused mainly on furniture

perforate : holes
(A) speckle : spots
(B) evaporate : perfume
(C) decorate : rooms
(D) filter : water
(E) repent : sins

Alexis de Tocqueville, the French political scientist, historian, philosopher and politician, is most famous for a four-volume book he wrote called “Democracy in America”. He came to America in 1831 to study the American form of democracy and what it might mean to the rest of the world. After a visit of only nine months, he wrote a remarkable book which is regarded as a classic. De Tocqueville had unusual powers of observation. He described not only the democratic system of government and how it operated, but also its effect on how Americans think, feel, and act. Many scholars believe he had a deeper understanding of traditional American beliefs and values than anyone else who has written about the United States. What is so remarkable is that many of these traits which he observed nearly 200 years ago, are still visible and meaningful today. His observations are also important because the timing of his visit, the 1830s, was before America was industrialized. This was the era of the small farmer, the small businessman, and the settling of the western frontier. It was the period of history when the traditional values of the new country were newly established. In just a generation, some 40 years since the adoption of the U.S. Constitution, the new form of government had already produced a society of people with unique values. He was, however, a neutral observer and saw both the good and bad sides of these qualities.
The first part of “Democracy in America” was written in 1831-32 and published in 1835. A highly positive and optimistic account of American government and society, the book was very well received. He attempted to get a glimpse of the essence of American society, all the while promoting his own philosophy: the equaling of the classes and the inevitable depth of aristocratic privilege. The rest of the book he labored on for four years, and in 1840 the second part was published. This was substantially more pessimistic than the first, warning of the dangers despotism and governmental centralization, and applying his ideas and criticisms more directly to France. As a result, it was not received as well as the first part, except in England where it was acclaimed highly.

1. What is the passage primarily about?
(a) Alexis de Tocqueville
(b) “Democracy in America”
(c) the progress achieved in America within about 40 years after adoption of the U.S. Constitution
(d) the impact of the book “Democracy in America”

2. All of the following fields of professional interest and activity are used to describe de Tocqueville EXCEPT
(a) philosopher
(b) author
(c) political scientist
(d) politician

3. According to the passage, when did de Tocqueville visit America
(a) 1830s
(b) 1831
(c) 1831-32
(d) 1835

4. The phrase “these traits” refers to
(a) observations
(b) how Americans think, feel, and act
(c) traditional American beliefs and values
(d) visible and meaningful observations

5. What in the passage is mentioned as being truly remarkable?
(a) many of his observations are still visible and meaningful today
(b) the book was so detailed and thorough after only such a comparatively short visit
(c) that the second volume should be so pessimistic in comparison with the first
(d) de Tocqueville’s powers of observation

6. The word “unique” is closest in meaning to
(a) clearly identifiable
(b) outstanding
(c) unmatched
(d) positive

7. The word “neutral” is closest in meaning to
(a) impartial
(b) careful
(c) important
(d) thorough

8. Which of the following can be inferred from the passage?
(a) the English don’t like the French
(b) the book was most important because it was the first time that American values had been clearly documented
(c) de Tocqueville was a slow writer
(d) de Tocqueville was primarily motivated by an interest in his own country

9. The word “glimpse” is closest in meaning to
(a) overview
(b) glance
(c) brief understanding
(d) quick conclusion

10. According to the passage, “Democracy in America” consisted of how many volumes?
(a) one
(b) two
(c) three
(d) four

11. Which of the following is true, according to the passage?
(a) the visit lasted only five months
(b) the visit coincided with American industrialization
(c) the first part was published in 1835; the second part in 1840
(d) the second part was more optimistic than the first

trust : clandestine
(A) reverie : dreamy
(B) acquaintanceship : brief
(C) expectation : hopeless
(D) glance : resentful
(E) journey : leisurely

adulterate

a) renounce
b) purify
c) criticize
d) forbid
e) correct

Fuentes� subtly persuasive arguments for continuity in Latino culture ———- readers to recognize that their future cannot be ——— from he way they their past.
(A) Implore —– Deciphered
(B) Condition —– Inferred
(C) Invite —– Divorced
(D) Command —– Protected
(E) Inspire —– Elicited

LUSTROUS : BURNISH ::
(A) Radiant : Reflect
(B) Insensible : numb
(C) Boisterous : Heckle
(D) Odious : Sicken
(E) Winding : Braid

Professional photographers generally regard inadvertent surrealism in a photograph as a curse rather than a blessing; magazine photographers, in particular, consider themselves _______ to the extent that they ca__________ its presence in their photographs.

A) skillful . . enhance
B) inadequate . . eliminate
C) original . . demonstrate
D) fortunate . . minimize
E) conventional . . highlight

In modern English very few verb forms can be surely identified as subjunctives, and the use of those few is so irregular that_______ criteria for appropriate usage are hard to infer.

A) obscure
B) irrelevant
C) alternative
D) definite
E) independent

DISAPPROBATION : CONDEMN

A. calumny : eulogise
B. enigma : enlighter
C. fallacy : diseminate
D. exhortation : urge
E. solvency : deploy

Amsden has divided Navajo weaving into four distinct styles. He argues that three of them can be identified by the type of design used to form horizontal bands: colored strips, zigzags, or diamonds. The fourth, or bordered, style he identifies by a distinct border surrounding centrally placed, dominating figures.

Amsden believes that the diamond style appeared after 1869 when, under Anglo influence and encouragement, the blanket became a rug with larger designs and bolder lines. The bordered style appeared about 1890, and, Amsden argues, it reflects the greatest number of Anglo influences on the newly emerging rug business. The Anglo desire that anything with a graphic designs have a top, bottom, and border is a cultural preference that the Navajo abhorred, as evidenced, he suggests, by the fact that in early bordered specimens strips of color unexpectedly break through the enclosing pattern.

Amsden argues that the bordered rug represents a radical break with previous styles. He asserts that the border changed the artistic problem facing weavers: a blank area suggests the use of isolated figures, while traditional, banded Navajo designs were continuous and did not use isolated figures. The old patterns alternated horizontal decorative zones in a regular order.
Amsden’s view raises several questions. First, what is involved in altering artistic styles? Some studies suggest that artisans’ motor habits and thought processes must be revised when a style changes precipitously. In the evolution of Navajo weaving, however, no radical revisions in the way articles are produced need be assumed. After all, all weaving subordinates design to the physical limitations created by the process of weaving, which includes creating an edge or border. The habits required to make decorative borders are, therefore, latent and easily brought to the surface.

Second, is the relationship between the banded and bordered styles as simple as Amsden suggests? He assumes that a break in style is a break in psychology. But if style results from constant quests for invention, such stylistic breaks are inevitable. When a style has exhausted the possibilities inherent in its principles, artists cast about for new, but not necessarily alien, principles. Navajo weaving may have reached this turning point prior to 1890.

Third, is there really a significant stylistic gap? Two other styles lie between the banded styles and the bordered styles. They suggest that disintegration of the bands may have altered visual and motor habits and prepared the way for a border filled with separate units. In the Chief White Antelope blanket, dated prior to 1865, ten years before the first Anglo trading post on the Navajo reservation, whole and partial diamonds interrupt the flowing design and become separate forms. Parts of diamonds arranged vertically at each side may be seen to anticipate the border.

1) The author’s central thesis is that
(A) the Navajo rejected the stylistic influences of Anglo culture
(B) Navajo weaving cannot be classified by Amsden’s categories
(C) the Navajo changed their style of weaving because they sought the challenge of new artistic problems
(D) original motor habits and thought processes limit the extent to which a style can be revised
(E) the casual factors leading to the emergence of the bordered style are not as clear-cut as
2) It can be inferred from the passage that Amsden views the use of “strips of color” (line 18) in the early bordered style as
(A) a sign of resistance to a change in style
(B) an echo of the diamond style
(C) a feature derived from Anglo culture
(D) an attempt to disintegrate the rigid form of the banded style
(E) a means of differentiating the top of the weaving from the bottom

3) The author’s view of Navajo weaving suggests which one of the following?
(A) The appearance of the first trading post on the Navajo reservation coincided with the appearance of the diamond style.
(B) Traces of thought processes and motor habits of one culture can generally be found in the art of another culture occupying the same period and region.
(C) The bordered style may have developed gradually from the banded style as a result of Navajo experiencing with design.
(D) The influence of Anglo culture was not the only non-Native American influence on Navajo weaving.
(E) Horizontal and vertical rows of diamond forms were transformed by the Navajos into solid lines to create the bordered style.

4) According to the passage, Navajo weavings made prior to 1890 typically were characterized by all of the following EXCEPT
(A) repetition of forms
(B) overall patterns
(C) horizontal bands
(D) isolated figures
(E) use of color

5) The author would most probably agree with which one of the following conclusions about the stylistic development of Navajo weaving?
(A) The styles of Navajo weaving changed in response to changes in Navajo motor habits and thought processes.
(B) The zigzag style was the result of stylistic influences from Anglo culture.
(C) Navajo weaving used isolated figures in the beginning, but combined naturalistic and abstract designs in later styles.
(D) Navajo weaving changed gradually from a style in which the entire surface was covered by horizontal bands to one in which central figures dominated the surface.
(E) The styles of Navajo weaving always contained some type of isolated figure.

6) The author suggests that Amsden’s claim that borders in Navajo weaving were inspired by Anglo culture could be
(A) conceived as a response to imagined correspondences between Anglo and Navajo art
(B) biased by Amsden’s feelings about Anglo culture
(C) a result of Amsden’s failing to take into account certain aspects of Navajo weaving
(D) based on a limited number of specimens of the styles of Navajo weaving
(E) based on a confusion between the stylistic features of the zigzag and diamond styles

7) The author most probably mentions the Chief White Antelope blanket in order to
(A) establish the credit influence of Anglo culture on the bordered style
(B) cast doubts on the claim that the bordered style arose primarily from Anglo influence
(C) cite an example of a blanket with a central design and no border
(D) suggest that the Anglo influence produced significant changes in the two earliest styles of Navajo weaving
(E) illustrate how the Navajo had exhausted the stylistic possibilities of the diamond style

The passage is primarily concerned with
(A) comparing and contrasting different styles
(B) questioning a view of how a style came into being
(C) proposing alternative methods of investigating the evolution of styles
(D) discussing the influence of one culture on another
(E) analyzing the effect of the interaction between two different cultures

Please help solving these analogy questions

HOUSE: SHINGLES:

1. rain: umbrella
2. monument: marble
3. antelope: fur
4. tree: bark

CLOUD: DELUGE:

1. sunset: shadow
2. fever: disease
3. comet: disaster
4. antenna: broadcast

QUILL: FEATHER:

1. brush: hair
2. wood: pencil
3. stem: flower
4. shell: egg

INNAMON : SPICE ::
(A) Cocoa : Chocolate
(B) Lead : Pencil
(C) Salt : Mineral
(D) Beet : Sugar
(E) Mica : Mine

BOUQUET : FLOWERS
(A) corn : husk
(B) woodpile : logs
(C) forest : thicket
(D) mist : fog
(E) drift : snow

paean

a) Mexican laborer
b) native
c) mate
d) dirge
e) freeman

coagulate

a) release
b) plunge
c) strengthen
d) dissipate
e) prepare
precursory

0 < m < n

Column A
n-m

Column B
(n+m)/2

A) if the quantity in column A is greater.
B) if the quantity in column B is greater.
C) if the quantities are equal.
D) if the relationship cannot be determined from the information given.

(Asked by Lakshmy)